Anthropology and Humanism最新文献

{"title":"“this sunken land.” Literary writers mending and unsettling landscapes in Iceland","authors":"Charlotte E. Christiansen","doi":"10.1111/anhu.70054","DOIUrl":"https://doi.org/10.1111/anhu.70054","url":null,"abstract":"<p>Drawing on material from 12 months of ethnographic fieldwork in Iceland, this paper zooms in on two Icelandic writers, Andri Snær Magnason and Haukur Ingvarsson, and their works <i>Dreamland</i> (<i>Draumalandið,</i> 2006) and <i>Ecostentialism</i> (<i>Vistarverur,</i> 2018), respectively. These two works relate in different ways to the construction of the hydropower plant <i>Kárahnjúkavirkjun</i> in East Iceland. The hydropower plant was completed in 2006 despite mass protests and political controversy. Broader debates in Icelandic society at the time seemed to coalesce around this particular project. Through their writing, on a backdrop of radical societal change and crises, the two writers sought to reshape landscapes of rural Iceland. Inspired by anthropological studies of imagination, literature, and creativity, I aim to show with these two cases, how literary writing, as a certain creative technology, can unsettle and mend the actual and imaginary landscapes that human beings dwell in. I conclude with suggestions for how this study, using literary texts and “ethnographic biography” inspired by Michael Herzfeld, brings about new anthropological approaches to imagination and representation.</p>","PeriodicalId":53597,"journal":{"name":"Anthropology and Humanism","volume":"50 2","pages":""},"PeriodicalIF":0.0,"publicationDate":"2025-10-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"145750605","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The poison in the cake: A fragmented writing about truths, lies, and silences","authors":"Francesca Morra,&nbsp;Arinas Usoro","doi":"10.1111/anhu.70051","DOIUrl":"https://doi.org/10.1111/anhu.70051","url":null,"abstract":"<p>In this essay, the two co-authors engage in a conversation about violence, an object escaping and defying language. Francesca is an anthropologist employing notes of psychotherapy sessions as ethnographic material; Arinas is a writer gradually gathering narrative fragments to find the truth in her family history. The essay begins with the circumstances of their encounter and follows their narrative process, intertwining pieces of ethnography, journaling, and fiction. In the exchange with the ethnographer, the writer makes, remakes, and unmakes her truth firstly through self-translation, then through a multilingual conversation, and finally through fictional writing. The two writing practices mingle, becoming fragmented and polyvocal, and offering the possibility of inventing, and not just making sense of, experiences. Thus, truth appears as a multidimensional, paradoxical object: intimacy appears in violence, violence in affection, and poison in a piece of cake. The combination of languages, genres, and voices explodes a story into a bigger, shattered picture of fragments, thus opening up a possibility, as well as a risk, of transformation—of imagining a new world.</p>","PeriodicalId":53597,"journal":{"name":"Anthropology and Humanism","volume":"50 2","pages":""},"PeriodicalIF":0.0,"publicationDate":"2025-09-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"145751040","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The art of queering the ordinary canceled concerts, broken eggs, and artistic attunement to ethical life in Amman, Jordan","authors":"Marie Rask Bjerre Odgaard","doi":"10.1111/anhu.70050","DOIUrl":"https://doi.org/10.1111/anhu.70050","url":null,"abstract":"<p>Through conversations with artists and fieldwork on both intimately motivated and politically eventful dimensions of the art scene in Amman, Jordan, this article asks how we might understand the role of artistic work in thinking about ethics as a matter of making space to be in, when faced with moral limitations. From the minor story of a broken egg and to the experience of the world being broken by violence, I explore the potential for artistic attunement to make moments of space for ethical life in times of uncertainty, as well as to call attention to the experiential limits of the moral “ordinary.” I propose an experientially grounded attunement to the art of queering the ordinary through a synergetic reading of anthropological work on ethics and morality and by making visible spaces between artist, artwork, anthropologist, and world.</p>","PeriodicalId":53597,"journal":{"name":"Anthropology and Humanism","volume":"50 2","pages":""},"PeriodicalIF":0.0,"publicationDate":"2025-09-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"145751278","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Lived place, embodied remembering, and narrative belonging in Samia Serageldin's The Cairo House and Pauline Kaldas's “A House in Old Cairo”","authors":"Daniella Krisztán PhD candidate","doi":"10.1111/anhu.70044","DOIUrl":"https://doi.org/10.1111/anhu.70044","url":null,"abstract":"<p>Samia Serageldin's <i>The Cairo House</i> (2000) and Pauline Kaldas's “The House in Old Cairo” (2006) allow a comparative analysis on place dynamics and the psycho-spatial aspects of subjectivity and belonging. This article builds on the premise that place has an ontological implication for its occupants as it allocates a portion of space for them, and also identifies and animates them through its potential to alter their affective experience of the world. In Serageldin's novel and Kaldas's poem, the function of place extends beyond that of a mnemonic tool only, as the co-dependence of place and lived bodies takes on a symbolic layer of meaning through the metaphorization of the family house—that was left in the homeland—as an anchor to the migrant individual's roots. The threat of losing the intergenerational and intersubjective nexus looms over both texts emphasizing the anxiety over the loss of shared cultural heritage and the relations between genealogy, place, remembering, and narrative. Examining the nostalgic yearning for the homeland and the elements of acquiring a sense of belonging to a place, the article delineates the capacity of narratives to function as mnemonicons and the potential of belonging through narratives to adopt the position of place-belongingness.</p>","PeriodicalId":53597,"journal":{"name":"Anthropology and Humanism","volume":"50 2","pages":""},"PeriodicalIF":0.0,"publicationDate":"2025-09-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://anthrosource.onlinelibrary.wiley.com/doi/epdf/10.1111/anhu.70044","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"145751225","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"OA","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Performative insights: The future-in-the-now method for ethnographic data collection","authors":"Roanne van Voorst","doi":"10.1111/anhu.70048","DOIUrl":"https://doi.org/10.1111/anhu.70048","url":null,"abstract":"<p>This article presents the innovative “Future-in-the-Now method,” an ethnographic and theatrical approach designed for anthropological research, particularly effective for futures-anthropologists and those exploring sensitive topics through arts-based methods. By emphasizing the co-creation of a theatrical performance between the ethnographer and research participants, this method transforms the performance into the central site of ethnographic inquiry. The process unfolds in four distinct steps: preliminary fieldwork to gather foundational data, collaborative script and content development, observation and interaction during performances, and subsequent analysis and publication. The Future-in-the-Now method offers unique advantages for ethnographic practice. First, it enhances reach and impact, making research accessible to broader audiences beyond academic circles through participatory theater. Second, it allows for the collection of deep, layered data during performances, revealing insights and reactions that are often obscured in traditional data collection methods. This method's focus on audience responses not only enriches existing ethnographic insights but also introduces new pathways for analysis that emerge from public interactions and reflections on sensitive topics. Finally, through dramatizing collectively imagined scenarios, the Future-in-the-Now method provides a safe space for engaging with contemporary issues, bridging the present and potential futures. This article ultimately argues for the methodological significance of more systemically integrating performance into ethnographic research, promoting a nuanced understanding of complex themes and fostering rich dialogue among participants and audiences alike.</p>","PeriodicalId":53597,"journal":{"name":"Anthropology and Humanism","volume":"50 2","pages":""},"PeriodicalIF":0.0,"publicationDate":"2025-09-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://anthrosource.onlinelibrary.wiley.com/doi/epdf/10.1111/anhu.70048","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"145751201","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"OA","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Curating connections: Exploring a British national park with young asylum seekers","authors":"Heidi Armbruster,&nbsp;Marie-Anne Mansfield","doi":"10.1111/anhu.70045","DOIUrl":"https://doi.org/10.1111/anhu.70045","url":null,"abstract":"<p>This article reflects upon the authors' involvement with a walking project in the New Forest, a national park in the United Kingdom, for which we collaborated with a group of young male asylum seekers, community partners, and multimodal artists. Through the use of visual and digital media as sensory and collaborative tools of sense making, we explore the nested meanings of walking and of curated nature contact. The article reveals how walking may not be a (politically) neutral act, but rather a process of solidarity, support, and unfolding experience. We consider how walking and the arts activities of the project resulted in a form of conversation with the landscape and took on an affectively involved, empathetic orientation. We further elucidate how the project became entwined with the inherently interrupted nature of relations and experiences for those trapped in the asylum system. In conceptualizing “curation” as both in(ter)vention and care, we argue that research in the politicized sphere of forced migration and asylum has to integrate with the ethical commitment to create safe spaces of encounter and connection. In so doing, this article makes an original contribution, both theoretically and methodologically, to anthropological debates on migration, interculturality, and sensory ethnography.</p>","PeriodicalId":53597,"journal":{"name":"Anthropology and Humanism","volume":"50 2","pages":""},"PeriodicalIF":0.0,"publicationDate":"2025-08-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://anthrosource.onlinelibrary.wiley.com/doi/epdf/10.1111/anhu.70045","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"145751383","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"OA","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Beyond the footnote: Citation as disruption in creative anthropology","authors":"Priyanka Borpujari,&nbsp;Ian M. Cook,&nbsp;Çiçek İlengiz,&nbsp;Fiona Murphy,&nbsp;Julia Offen,&nbsp;Johann Sander Puustusmaa,&nbsp;Eva van Roekel,&nbsp;Richard Thornton,&nbsp;Susan Wardell","doi":"10.1111/anhu.70025","DOIUrl":"10.1111/anhu.70025","url":null,"abstract":"&lt;p&gt;Why begin here? Why this story, this tone, this trace of Bohannan's work? Because this essay is about creative citation, and about the stakes of form—what we borrow, what we honor, what we let speak through us. The passage above is not an ornament. It is not a clever Easter egg for anthropologists who happen to have read &lt;i&gt;Return to Laughter&lt;/i&gt;. It is an opening argument, delivered in the language of literary mimicry. It performs the very citational ethics this essay advocates: citation as entanglement, not extraction; as homage, not possession; as a quiet form of transmission that speaks to influence, resonance, and kinship between texts.&lt;/p&gt;&lt;p&gt;And yes, it is disorienting. That, too, is deliberate. Creative work often is. Unlike academic citations, which promise clarity and legibility, creative references resist that neatness. They pull at something deeper: recognition, unease, curiosity. The discomfort here is not a failure—it is an opening. A way to signal that we are about to enter a conversation not about how to cite, but &lt;i&gt;why&lt;/i&gt; to cite differently. And what becomes possible when we do so.&lt;/p&gt;&lt;p&gt;&lt;i&gt;Return to Laughter&lt;/i&gt; was one of the earliest recognized attempts to smuggle the real contradictions of fieldwork—its absurdities, its ambiguities, its ethical failures—into narrative form. It turned anthropological knowledge into fiction not to fictionalize the truth, but to show how unstable, relational, and storied the truth always already was. We borrow it here not to revive a canon, but to unsettle it. To take that early experiment in form and let it resonate inside new terrain: a smuggling route, a borderland, a different kind of field.&lt;/p&gt;&lt;p&gt;This act of adaptation becomes a kind of “unfootnoted” citation—a citation not of content, but of &lt;i&gt;method&lt;/i&gt;. A way of saying: form matters. Mood matters. Lineage matters. What if our citational practices could hold all that, too?&lt;/p&gt;&lt;p&gt;So, we begin here: with mimicry as a method. With a borrowed opening that neither claims nor conceals its origin, but lets it shimmer in a new context. From here, we will unfold what it might mean to reference creative work not just as evidence, but as atmosphere, rhythm, rupture. We will ask what citation might become if we allowed it to breathe. To echo. To feel.&lt;/p&gt;&lt;p&gt;And so, we turn, slowly, toward the tangle. Because to cite is never merely to reference; it is to trace and retrace the filaments of an epistemic web, a web that binds and blinds in equal measure. Citation is architecture: scaffolding the edifice of legitimacy, holding up who gets to be seen as foundational, whose words endure, whose absence goes unnoticed.&lt;/p&gt;&lt;p&gt;These absences are not incidental. They're structural, a consequence of how power circulates—who gets remembered, who gets misfiled, who gets called decorative, and who gets called theoretical. Citation is not only the history of ideas—it is the history of exclusion.&lt;/p&gt;&lt;p&gt;In creative anthropology, these exclusions take on another ","PeriodicalId":53597,"journal":{"name":"Anthropology and Humanism","volume":"50 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2025-07-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://onlinelibrary.wiley.com/doi/epdf/10.1111/anhu.70025","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"144740094","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"OA","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Dismantling the Shed. A Chronicle","authors":"Hannah Wadle","doi":"10.1111/anhu.70035","DOIUrl":"10.1111/anhu.70035","url":null,"abstract":"<p>It is the festive beginning of spring in a small village and sailing tourism resort in the Masurian Lake District, Northeast Poland: Catholic Easter is followed by Majówka, the first tourism weekend in May. Caught up between the rituals of Easter and those of tourism in the village, you, Zenon, a middle-aged man born there, lose grip on the communities you used to be part of. Your eviction from the world you know and from the future you have been longing for proceeds at inexorable speed, while you rear up against it, rebelling with your body and imagination. The events are chronicled by me, Sophie, an anthropologist on fieldwork and a woman in her mid-twenties, who stays at your parents' house. I become a witness to the dismantling of your shed and of the longings that were stored inside.</p>","PeriodicalId":53597,"journal":{"name":"Anthropology and Humanism","volume":"50 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2025-07-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://onlinelibrary.wiley.com/doi/epdf/10.1111/anhu.70035","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"144740326","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"OA","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Expression games in Jane Austen and Erving Goffman: “Family and connections” versus “solitary cultish men”","authors":"Richard Handler","doi":"10.1111/anhu.70009","DOIUrl":"10.1111/anhu.70009","url":null,"abstract":"<p>This paper brings together two brilliant analysts of social encounters, Jane Austen and Erving Goffman. It proceeds by applying some of Goffman's terms for face-to-face interactions to several scenes from Austen's novels in which characters try to extract information from others while preventing others from extracting information from them. In their treatment of these “expression games,” both authors display a similar sociological sensibility. They differ, however, in their treatment of the individual in relation to society; for Austen, an individual can never be viewed apart from family and connections, while for Goffman, the individual is in and of itself a sacred social entity.</p>","PeriodicalId":53597,"journal":{"name":"Anthropology and Humanism","volume":"50 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2025-07-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://onlinelibrary.wiley.com/doi/epdf/10.1111/anhu.70009","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"144740356","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"OA","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"“Slapping gaze” vs. “caressing gaze”: The guilt of shame and the solution offered by Buber and Camus","authors":"Dr. Hagar Hazaz Berger","doi":"10.1111/anhu.70001","DOIUrl":"10.1111/anhu.70001","url":null,"abstract":"<p>Based on ethnographic research, this article focuses on the subjective experience of people placed in isolation during the first wave of COVID-19 in Israel. The method is urgent ethnography and experimental ethnography combining anthropology, philosophy, and literature. Informed by 53 interviews with Israelis isolated due to COVID-19, diary excerpts, a field journal, and photographs, this study projects from the local story to Western culture. Specifically, I examine the differences between the subjective experiences of different individuals, tracing the cultural construction through which feelings of guilt and shame emerge as cultural roles. In doing so, I apply the neologism “slapping gazes” used to punish, rebuke, or impose social sanctions during the global crisis, and examine how they affect the isolated individuals by generating feelings of shame and guilt. I offer a solution in the form of “caressing gazes” as suggested in Martin Buber's work. Finally, as the recent protest against the regime overhaul in Israel has added relevance to the study, I also include the initial findings of an urgent ethnography thereof, as a potential basis for understanding cultural perceptions in Israel and the Western world during the pandemic, political crises, and beyond in that spirit.</p>","PeriodicalId":53597,"journal":{"name":"Anthropology and Humanism","volume":"50 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2025-07-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"144740179","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}